INSANE IN DA MEMBRANE

The B-membrane concept PC by the Korean designer Won-Seok Lee features a built-in projector that replaces the need for a bulky monitor. Dope, right? It has a "virtual" touch-keyboard that displays on the base of B-membrane at your command and an optical drive that's integrated into the base. The B-membrane also features a "glow-in-the-dark" mode that can project various images of ambient mood lighting. From concept to design, we are feeling this joint.

FRESH CLASSICS - I GOTCHA OPIN (RMX)

Buckshot with an effortless flow rides the jazzy basement track from Evil Dee tighter than Pete Wentz jeans...*classic*

Audio: Clipse Fast Life

Everyone knows that the Clipse is the ultimate street hustling rap group. We also know that the Neptunes supplied them with an old boom-bap Hip-Hop sound morphed into sonic sounds. The Neptunes' raw sound perfectly married Malice and Pusha T's dynamic lyrics. However, only Hip-Hop heads supported the groups true to form rap songs. These rap songs were too much for the general public to consume. It is soul food for all the high IQ hustling cats.

The Clipse have returned with some heat from Scott Storch for the first single on the Re-Up Gang Record label. Fast Life is the fuse to the Re-Up Gang explosion. Keep grinding until you are in the fast life.

FRESH CLASSICS - PAID IN FULL

Europe is the New Art Scene

Peace Everyone,

Currently, the US is still stuck on Asia for the new urban market. I've somehow have stumbled on the European music and trend scene. After years of Godzilla stomping through Japan, I'm starting to like Europe's scene. I'm completely unfamiliar with it. It speaks to me more than marveling at young Asian trend setters imitating what already exists in my subculture. I don't think the Asian urban phenomenon is great, it is innovative. But, innovation builds on what's already there.

I think young African-American celebrities latch onto Japan, Hong Kong, and Korea because they are narcissistic. They understand that the urban Asian subculture is imitating the nostalgic African-American subculture with a slightly different flair. You have young African-American celebrities parading around claiming, "I got the new hip-hop flavor from Japan. I know they are copying our style, but this is why it is different." I find no love in innovation and polishing of styles that copy without understanding the meaning behind the style. If you go to Japan and ask am average cat about his style, he couldn't give you a self-expressive reason on why he is doing it. I can also say the same here in the States. Young cats love Lil' Wayne not because he is a great lyricist, but his hype portrays him as being good. If they actually took the time to dissect what he is saying and how he is saying it, they would not revere his art. The young urban subcultures are following the life cycle of the Rock-n-Roll movement on a global level.

Anyways, here are things I've learned to love on my honeymoon experience with Europe:

REVIEW: N.E.R.D. Seeing More than Sound

A few years back, I heard that N.E.R.D. were not going to craft another musical soundtrack to life after the lackluster response to their sophomore album, Fly or Die. Fly or Die did not fall into the sophomore jinx album category. If anything, N.E.R.D.'s sound is perfection. It is so perfect that they fell into the uncanny valley of sound. If you listened to either of N.E.R.D.'s previous two albums closely, you would notice that the flaws seemed planned and calculated to deliver an authentic sound. I loved these albums. They illustrated artistry at its finest, diversity of sound, ignorant and intelligent subject matter, and just good music. It was easy to see, I mean hear, the efforts of Pharrell, Chad, and Shay pour into a montage of life.

Now, the trio is back with their third effort, Seeing Sound. Fortunately, N.E.R.D. have not deviated from the roller coaster ride through soundscapes and subject matter. No two songs are alike on this album. Honestly, songs transform and go through a metamorphosis within themselves. Moreover, the lyrics borderline ingenuous song writing to outright surrealistic babble gook. Pharrell ignites the album rapping over a syrupy funkdafied guitar rift on "Time for Some Action" in his monotone I'm-reading-my-lyrics style. The album then plunges into "Everyone Nose (All the Girls Standing in the Line for the Bathroom)," the first single that sounds like a live house song. From there, the album skates across every era of rock-n-roll. They use Hip-Hop to fuse together a stream of classic rock, light rock, punk, and Electronic rock songs throughout the album.

Moreover, it is amazing that Pharrell's falsetto or monotone rap delivery does not detract from making the album good. The songs are fitting for the current climate of rap and rock. But, I honestly believe the complex lyrical construction, double meaning subject matter, and wit of the lyrics will fall on many deaf ears. This album is for the music lover that visualizes life through sound.

The N.E.R.D.'s well-crafted song making does not escape some pitfalls of music peril. For example, "Spaz" sounds ametuer and immature for trying to bind rock with acid jazz undertones. It sounds like a song that should have been given to Fergie or Pink. I expect more sophistication from these three above-average song composers. "Sooner or Later," one of my favorite songs on the album, sounds like a leftover track from Fly or Die. Furthermore, the layering of sounds and music is less focused, yet blends well together in its naturally artificial soundscapes. At times, I felt confused about loving a song or hating it because the parts surpass the whole composition. You can see the artistry in all the parts, but sometimes they felt disjointed when played together. To add insult to injury, it seemed that Pharrell, Chad, and Shay purposely composed the disjointing elements of the album to prove to the world that their sound isn't always perfect and can be raw emotion. It leaves the effect of being counterculture for the sake of being counterculture.

I have not given my final verdict on the album. I believe this album has some timeless qualities that will show after years of listening, but today it seems to be a lot to digest. It is like the Chinese saying, "When the five flavors fall over the tongue at the same time, the food becomes tasteless." N.E.R.D. gives you an overdose of flavors at the same time without an ounce of direction to guide you on their Seeing Sound journey.

On a more positive note, the group draws on raw energy of music making in order to paint a picture of sound for the audience to see. They do accomplish the feat of making the listener see sound. Purchase this album to hear great music that is perfect in its imperfections. But, isn't perfect inperfections something we have come to expect from N.E.R.D. You will either kill for or be killed by this album at the end of the day, but remember no ever really dies.

REVIEW: The Carter III Bootleg

So, this DJ named Chuck T from Charleston, South Carolina decides to do us all a favor and not only upload Lil' Wayne's new album for the freeski, but then he goes on to even claim his illegal move. Now, I don't do that kind of judging, but you have to admire the man's balls. Just for my own comfort, I'll call a safety NOLO on that one.

See, this is the most anticipated album this year, barring any chance that Dr. Dre will actually release Detox. I admit I'm looking forward to L.A.X. by The Game and Untitled by NaS. I don't know if Eminem is planning anything, but you can bet that Kanye is going to ride out his tour and say eff Def Jam until he's through caking up some mega millions. You can neither blame him or tell him nuthin.

So that leaves Lil' Wayne with a lot of pressure. And it's crazy that I've heard this album more than enough to review it before it drops and I didn't get it through a publicist. The Carter III, as a brand name product, is supposed to be super ill. You'd expect nothing less from a guy who dropped so many dope freestyles and mixtapes, with or without his consent. Maybe that was his grudge with the DJs, and maybe since they don't give a fuck, they decided to leak the album a week early. As if it probably hadn't already been done or wouldn't have happened.

I feel Wayne's pain, because of one simple fact. The Carter III is a dope ass album. Way better than I expected. And I'm somewhat shocked that nobody else is saying this so soon. I mean, I admit it took me a day to really get into the whole program of what dude was trying to say on the album, but when it all clicked, it made perfect sense. Well rounded, crazy but eerily sane and without one wack track. There's always at least one song on every classic album that doesn't fit into my own tastes, but who's to say that you won't love it? Matter of fact, I won't even talk about the one I don't like, because such a scenario is not so inconceivable.

What I will say is that from opening to close, C3 delivers. "3 Peat", the Cool and Dre-produced momentum builder, sounds like something Weezy just had to do for himself, which is the perfect precursor to the rest of the LP. It's not too dramatic, but it carries the weight he has invited upon himself. From there, we hear "Mr. Carter", featuring Jay-Z and boasting a Just Blaze beat and sample that seems meant for the two dueling rappers to call a truce and just rock for the people. Smart move, as far as track sequencing.

Then it's "A Millie." That shit bangs the fuck out, and if you don't agree, you need to upgrade from factory speakers. Baby Jr. mercks this one, and just because every other rapper (including Jay-Z) has tried to best him, no one owns it like the inventor. Score another one for whoever put together the track list.

Now, I'm not crazy for the T-Pain song that follows, but I guess Wayne felt like he owed the guy something in exchange for biting him (or is it Zapp & Roger Troutman?) on "Lollipop." But once that Babyface track comes in at #5, it doesn't even matter. Wow. Babyface?! Word?? WORD!!

From there, I have several other favorites, including "Shoot Me Down", "Nothing On Me", "La La La" and of course, "Let the Beat Build", which is an instant classic. Nothing short of great. One of those ideas that you would think someone else would have tried first, but isn't that what the fuck was so wrong with rap music until Wayne came around, with his 3-stacked styrofoam cup of syrup, multiple drug references and strange behavior (you already know)?

Again, there are moments on this album that didn't grab me like the ones above. But I'll be damned if this isn't better than I expected. I've looked at every mixtape after The Drought is Over 2 - The Carter 3 Sessions as just more freestyles and fake compilations. Once I heard "Did it Before", I knew that the album would be dope, because most of those songs were serious enough to have been contenders, and none of them would ever see Soundscan numbers. It's quite an achievement to be able to still create an album that sounds like pop art and Hip-Hop after having put out so much other shit that people got for free.

Then again, I think I just contradicted myself. After all, I haven't *yet* paid for the album, but this is one of those that I couldn't excuse myself for not supporting.

So go to Best Buy when it legally drops and get it for the lowski. Dude deserves to see some good numbers, and it'll definitely take you through the summer.